Baywatch Creators, Stars Urge Hollywood to Embrace L.A. Filming, TikTok Star Noah Beck

MALAYSIA (GENERAL CONTEXT FOR ENTERTAINMENT INDUSTRY), 12 OCTOBER 2026 —

Malaysia’s Entertainment Industry Faces Global Shifts as Hollywood Reboot Highlights Local Production Challenges

The series, which secured a $21.1 million tax credit (40% of its budget) from California’s Film Commission last year, underscores how global entertainment production remains deeply tied to regional incentives—lessons that could resonate with Malaysia’s own push to attract international film and television projects.

The reboot, led by showrunner Matt Nix, is framed as a deliberate counterpoint to the industry’s recent trend of productions relocating to cheaper or more tax-friendly locations. Nix, a native Californian, told Deadline that the project aims to "remind the broader Hollywood community that there are enormous advantages to shooting in Los Angeles"—a message that carries weight as studios grapple with rising costs and labor disputes.

"We forget at our peril that the TV and movie business began in Hollywood," Nix said, referencing the city’s historical dominance in the industry. "People say it’s impossible to shoot in L.A., but it isn’t."

The reboot’s timing is strategic. As Hollywood grapples with labor strikes, inflation, and the allure of international tax credits—such as those offered by Canada, Australia, and even Southeast Asian nations—Baywatch’s production serves as a case study in how legacy locations can adapt. California’s $21.1 million tax credit, awarded late last year, reflects both the state’s commitment to retaining production and its recognition that incentives alone won’t suffice.

"Los Angeles is where the actors are," Nix argued, highlighting the logistical and creative benefits of filming in a city with established infrastructure, talent pools, and iconic backdrops like its beaches—resources that are harder to replicate elsewhere.

For Stephen Amell, who plays Hobie Buchannon, the son of the original Baywatch’s David Hasselhoff, the reboot is a nostalgic yet modern homage to a show that shaped his own career. Amell, born in Canada, recalled how Baywatch inspired his move to California as a teenager. "When you watched the show as a kid in Toronto in February, you wondered, ‘Is that a real place? Can you really go there and live?’" he said.

"It created this aspirational view of California." His role, which involves balancing the demands of a father, a lifeguard, and a mentor, required careful framing. "Nix and producer Mike Horowitz simplified it for me by saying, ‘This is a father-daughter show set against the backdrop of Baywatch.’" he explained, noting that he approached the character with "three versions"—Captain Hobie, off-duty Hobie, and Hobie as a dad—to maintain consistency across scenes.

The reboot’s casting reflects Hollywood’s evolving dynamics, particularly the integration of digital-native talent. Noah Beck, a former soccer player turned TikTok star, was cast as a lifeguard without the showrunner initially recognizing his social media background. "There’s a massive responsibility when you put on those red shorts," Beck said, acknowledging the weight of the franchise’s legacy.

"It almost felt like putting on superhero armor every morning." Beck, who lives in California, emphasized that his platform was merely a foot in the door. "I know that my following can get me into a room, but it won’t keep me there," he said, underscoring the collaborative nature of acting. His journey—from sports to content creation to film—mirrors broader industry shifts where digital influencers are increasingly breaking into traditional entertainment roles.

The reboot’s presence at MIPCOM Cannes, where Fremantle is pitching the series, signals its ambition to recapture the franchise’s cultural footprint. While Beck couldn’t attend due to scheduling conflicts, Nix, Amell, co-star Brooks Nader, and executives are representing the project in person. Amell hinted at the show’s potential longevity, noting that discussions about Season 2 have already begun. "But you can’t think about the big-picture expectations," he cautioned.

"I’m focusing on the work step by step."

For Malaysia and the broader Southeast Asian region, Baywatch’s production model offers a lens through which to view the challenges and opportunities in attracting international film and television projects. The country has invested heavily in incentives, including tax holidays and production facilities, to lure Hollywood productions.

However, the success of such efforts hinges on more than just financial perks—it requires infrastructure, talent development, and a clear narrative about why a location is uniquely suited to a project. California’s ability to retain productions like Baywatch demonstrates that while tax credits are critical, the intangible appeal of a city’s culture, history, and creative ecosystem can be just as compelling.

The debate over production relocations is not just about cost savings; it’s about identity. "Los Angeles has the same kind of essential location value as the mountains for a mountain film," Nix said, emphasizing that certain settings are irreplaceable. For Malaysia, this raises questions: Can the country craft a similar narrative around its own landscapes, whether it’s the rainforests of Sabah, the beaches of Langkawi, or the urban energy of Kuala Lumpur?

The answer may lie in balancing incentives with storytelling—proving that a location isn’t just a backdrop, but a character in its own right.

As Baywatch prepares to return to screens, its production serves as a reminder that the entertainment industry’s future is not solely determined by where the cheapest labor or the highest tax credits are found. It’s also about where the magic happens—where actors, directors, and audiences alike feel the pull of a place that feels like home.

For Malaysia, the lesson is clear: to compete globally, the country must not just offer incentives, but also a vision that makes its own locations as iconic as the beaches of L.A.